Following an international 1997-98 artist residency in New Delhi at Sanskriti Kendra, the artists drew on Indian theories of modernity to develop an understanding of transcultural image migration that is cosmopolitan, extending this by working with other artists, first in four large art museum exhibitions with prominent New Zealand artist Patrick Pound, later extending the same themes, literally merging painting and photography in order to photographically “fix” overpainted chains of conflicting memories in large photographs on transparent film. Writer Amelia Douglas (“Framing Conflict”, 2009) explained what this meant: “These are images about how the past figures in the present, and how it might be accessed and remembered. They are about the realization and reconstitution of events. As such, they constitute a deeply political project.” National and international critics consistently explained their engagement with urgent challenges in art through their reinvention of painting as an engagement with history and remembering. Stockholm Svenska Dagbladet (Sweden, 1998) wrote: “To work with double worlds, double vision, is something the two youngest artists in the exhibition do”.